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B. Ingrid Olson

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[New edition]

B. イングリッド・オルソンの新エディションは、オンラインでご購入いただけます。

「Dream’s Navel」は、手のひらほどの大きさの陶彫作品からなるシリーズである。それぞれの作品は、空洞や管状の構造、窪みを中心に形づくられ、その後、厚く釉薬によって覆われることで、それらの開口部は隠されている。衣服あるいは皮膚のように、この釉薬は作品の内側に潜む身体的形態を覆い隠すと同時に、その存在を浮かび上がらせる。わずかに露出した空洞からは、ヴィンテージのセルロイド製ボタンが現れ、臍や内臓を思わせる小さな結び目を形成している。また、蝋引き糸や毛髪の束は、縫合の痕跡や臍の緒、あるいは臓器を包み保護するための素材を想起させる。こうした親密なオブジェは、閉じることと流れること、隠すことと露わにすることのあいだを揺れ動きながら、脆さを抱え、修復され、変容し続ける身体のありようを示唆している。

タイトルは、フロイトが提唱した「夢の臍（dream’s navel）」という概念に由来する。それは、あらゆる夢の中に存在し、解釈が限界に達して未知へと開かれる還元不可能な一点を指す。「Dream’s Navel」は、身体を表象する作品というよりも、有機的かつ象徴的な凝縮体の連なりとして展開する。欲望、記憶、そして物質の流れは、その一つひとつの形態のなかで絶えず交錯し、新たな均衡を探り続けているのである。

「Dream’s Navel」
施釉磁器、エポキシ樹脂、セルロイド、蝋引き糸、毛髪
約 8 x 8 x 4 cm
限定16部（全てユニーク）、アーティストによるスタンプサイン・ナンバリング入り

¥ 120,000

*

B. Ingrid Olson’s new edition is available online.

“Dream’s Navel consists of a series of palm-sized ceramic sculptures. Each piece takes shape around chambers, tubes, and hollows, before being covered with a thick glaze that conceals most of these openings. Like a garment or skin, the glaze simultaneously reveals and obscures the underlying structure of these enigmatic anatomical fragments. From the few cavities that remain visible emerge vintage celluloid buttons, forming small knots that evoke navels or viscera, while waxed string and locks of hair recall sutures, umbilical cords, or protective materials to wrap and support these organs. These intimate objects oscillate between containment and flow, concealment and exposure, suggesting bodies that are vulnerable, repaired, and in a state of perpetual transformation.

The title refers to Freud’s notion of the “dream’s navel”—that irreducible point within every dream where interpretation reaches its limit and gives way to the unknown. [...] More than a representation of the body, “Dream’s Navel” unfolds as a series of organic and symbolic condensations, in which the flows of desire, memory, and matter are continually negotiated through ever-renewed forms.”

“Dream’s Navel”
Glazed porcelain, epoxy, celluloid, waxed thread, hair
Circa 8 x 8 x 4 cm
Edition of 16 copies, all unique, numbered and stamp-signed by the artist

€ 750

•

@bbbingaaa
#Bイングリッドオルソン　#BIngridOlson
@kei_ji_ban
#金沢 #Kanazawa by @bbbingaaa

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3 months ago

Installation view of 𝒩𝒾𝓃𝑒 𝒫𝓁𝑜𝓉𝓈, 𝐸𝒾𝑔𝒽𝓉 𝐿𝑜𝒹𝑒𝓈
June 15 to July 31, 2026
Keijiban, Kanazawa, Japan
&
July 18 to 31, 2026
Yonkai, Kanazawa, Japan

The exhibition 𝘕𝘪𝘯𝘦 𝘗𝘭𝘰𝘵𝘴, 𝘌𝘪𝘨𝘩𝘵 𝘓𝘰𝘥𝘦𝘴 opens June 15 at Keijiban with an exhibition of two sheets of paper: a transcribed dream in English and its translation into Japanese. This same narrative dream-text serves as the title of one of Olson’s artworks—a painted plaster cast from late 2025. Gesturally brushed and stained with ink, the casting exactingly replicates the form and surface cracks of an antique molded-leather box. Biomorphic nodes and bumps protrude across the form like the head of a bone, softly abstracted by a layer of skin. This cast box is not on view here in Kanazawa; instead, the two sheets of paper stand in as traces of its absence and a prelude to the exhibition’s second chapter.

Opening at Yonkai on July 18, the absent form reappears as a set of eight new painted reliefs installed across the two-room gallery, each a plaster cast of the same soft-edged leather box. Eight more dreams have been recorded and paired as the artworks’ titles. The plaster casts are, again, each painted with ink and stains, as well as wax crayons, colored pencils. The striated, muscular brushstrokes vary on each form in their presence, weight, arrangement and (dis)order. Installed low, at the height of the abdomen, the reliefs invite an encounter that is as corporeal as it is contemplative, their modest scale only deepening the intimacy of their physical presence.

This exhibition is supported in part by a Foundation of Contemporary Arts grant @foundationforcontemporaryarts

Photos by Nik van der Giesen

𝑶𝒑𝒆𝒏𝒊𝒏𝒈 𝒍𝒆𝒕𝒕𝒆𝒓𝒔 𝒇𝒓𝒐𝒎 𝒎𝒚 𝒎𝒐𝒕𝒉𝒆𝒓. 𝑯𝒆𝒓 𝒔𝒄𝒓𝒊𝒑𝒕 𝒘𝒓𝒂𝒑𝒔 𝒂𝒓𝒐𝒖𝒏𝒅 𝒕𝒉𝒆 𝒃𝒓𝒐𝒘𝒏𝒊𝒔𝒉 𝒆𝒏𝒗𝒆𝒍𝒐𝒑𝒆 𝒊𝒏 𝒂 𝒔𝒑𝒊𝒓𝒂𝒍. 𝑻𝒉𝒆 𝒘𝒐𝒓𝒅𝒔 𝒃𝒆𝒄𝒐𝒎𝒆 𝒔𝒎𝒂𝒍𝒍𝒆𝒓 𝒂𝒏𝒅 𝒔𝒎𝒂𝒍𝒍𝒆𝒓 𝒂𝒔 𝒊𝒕 𝒈𝒐𝒆𝒔 𝒂𝒓𝒐𝒖𝒏𝒅. 𝑰 𝒏𝒆𝒆𝒅 𝒂 𝒎𝒂𝒈𝒏𝒊𝒇𝒚𝒊𝒏𝒈 𝒈𝒍𝒂𝒔𝒔 𝒕𝒐 𝒓𝒆𝒂𝒅 𝒕𝒉𝒆 𝒎𝒊𝒄𝒓𝒐𝒔𝒄𝒓𝒊𝒑𝒕, 𝒃𝒖𝒕 𝑰 𝒅𝒐𝒏’𝒕 𝒉𝒂𝒗𝒆 𝒐𝒏𝒆. 𝑻𝒉𝒆 𝒊𝒏𝒔𝒊𝒅𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒆𝒏𝒗𝒆𝒍𝒐𝒑𝒆 𝒄𝒐𝒏𝒕𝒂𝒊𝒏𝒔 𝒂 𝒏𝒆𝒄𝒌𝒍𝒂𝒄𝒆 𝒂𝒏𝒅 𝒂 𝒗 taken in Kanazawa, Japan by @bbbingaaa

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3 months ago

B. Ingrid Olson (@bbbingaaa) talks with Olesia Shuvarikova (@lesya.shu) on our latest ISSUE 15.

“There is something really satisfying about letting a lot out in one release and making use of it.”

In her omnidimensional work, Chicago-based artist B. Ingrid Olson (born 1987, Denver) engages the reciprocities between photography, sculpture, and architecture. Poetically testing the capacities of the human body in relation to architectural conditions, she calls attention to the ways that gender and power are implicated in the physical and psychological structuring of space.

B. Ingrid Olson wears @carharttwip for ISSUE 15. Now available through our website and in selected stores - link in bio! by @bbbingaaa

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3 months ago

A run on sentence is one of my favorite things and seems the best way to describe the long and circuitous life of my studio table so far: saved (!) from the trash in 2020 or so, with thanks to @alexchittystudio and @steadyrest_metalworks , it was quickly adopted as my favorite place to think through objects and materials, the work table was remade as an artwork in January 2023 for my year long exhibition @i8gallery where it became a portal from my studio in Chicago into the gallery in Reykjavik, where the table was always in flux as I continued to make new things to alter the exhibition, the table was scattered with stacks of books I was reading at the time resting next to sculptural works and drawings, after which it evolved (or devolved?) into a legless afterimage of just the black laminate + particle board tabletop panels, then two years later, ballooning in scale @kunstvereinbraunschweig and @midwayart in 2025, becoming a similarly legless mega-table that was simultaneously a low, modular support and also a catalogue raisonne of sorts, tracing the dimensions of every artwork I’d made to date with the varied 533 table-top panels acting as the foundation, hosting the installation which was a total work of art, and this huge disassembled table was also a re-imagining of a print diptych by Dieter Roth where a woman becomes a table and a table becomes a woman called A Feminine Thought. Presently, the table’s beginnings are cataloged in this Sisyphean book, Cast of Mind.

Excited to talk about this and other related spirals, tangents, meanders with @mariana___fernandez @chadkloepfer @kdnesin @lesliemer11 July 8th at 6pm @corbettvsdempsey & will be @tuskchicago Sunday July 19th from 1-3pm to stamp some bookmarks for friends by @bbbingaaa

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3 months ago

Available now from @dancing_foxes !

As part of her yearlong exhibition @i8gallery in Reykjavik, American artist B. Ingrid Olson (born 1987) continuously reconfigured her artworks within the space in order to test the reciprocity between photography and sculpture. This became a guiding structure for the book, which models artistic practice as an evolving form.

Featuring new texts by Thomas Duncan, Mariana Fernández, Kate Nesin, B. Ingrid Olson, Th. Killian Roach, Leslie Meredith Wilson, and Kate Zambreno. Reprinted excerpts by Nuar Alsadir, Aditi Machado, and Sawako Nakayasu

Designed by Chad Kloepfer by @bbbingaaa

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4 months ago

𝓐𝓵𝓵 𝓛𝓸𝓬𝓴 𝓝𝓸 𝓚𝓮𝔂 @corbettvsdempsey March 13 - April 25, 2026 CHICAGO xoxo 🔒🕳️ taken in Corbett vs. Dempsey by @bbbingaaa

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7 months ago

3 weeks left to visit 𝒜 𝑀𝒶𝓈𝒸𝓊𝓁𝒾𝓃𝑒 𝒯𝒽𝑜𝓊𝑔𝒽𝓉 @midwayart

The exhibition includes two artworks: Fraternal Canon (What I would be if I wasn’t what I am before I was I), n.d. and A Feminine Thought, 2007-2025. First exhibited in June 2025 at Kunstverein Braunschweig and conceived of as a Gesamtkunstwerk, or “total artwork”, A Feminine Thought was spread across the first floor of the Villa Salve Hospes, fluidly filling the eight rooms with the sole artwork. Gesamtkunstwerk, or “total artwork”, is a work of art or other constructed experience that combines as many mediums as possible into a coherent whole. Popularized (and problematized) by the composer Richard Wagner, the principles of the Gesamtkunstwerk are often embodied by architecture, with practitioners such as Le Corbusier and Frank Lloyd Wright controlling every element of their buildings.

For Midway, Olson has reconfigured and translated the large-scale artwork in response to the present architectural situation. Condensed not only into a single room, but into one half of the gallery space, the installation’s 527 tabletops are stacked directly on the floor into a tight and dense configuration, backed up against a long wall. The black laminate panels are scaled to the dimensions of every artwork made by the artist to date. A kind of shadow oeuvre, these rectilinear surrogates actually and metaphorically support an array of sculptural forms, drawings, and assemblages.

Grafted onto the existing steel beam that bisects Midway’s gallery space, Olson has installed four steel and fogged-glass partitions which simulate the transition between an interior and exterior space. 70 small photographic collages are scattered and taped across the interior surface of the glass. An installation of steel light fixtures, Fraternal Canon (What I would be if I wasn’t what I am before I was I), n.d., distantly backlights the photographic elements. In the liminal ‘outside’, the lights theatrically perform as artificial sunlight.

📷: @caylonhackwith 💫 taken in Midway Contemporary Art by @bbbingaaa

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9 months ago

𝑀𝒶𝒸𝒽𝒾𝓃𝑒𝓈 𝒞𝑜𝓂𝓅𝓁𝑒𝓍 on view at @croynielsen until February 7 taken in Croy Nielsen by @bbbingaaa

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9 months ago

A Feminine Thought will travel from @kunstvereinbraunschweig will be translated and transformed @midwayart
A Masculine Thought opening November 22 in Minneapolis! 🕳️ 🧠 🕳️ taken in Midway Contemporary Art by @bbbingaaa

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a year ago

Auto, f, 2021-2024
laser print, transparency, batting, cardstock, reflective paper, staple
2.5 x 2.25 x .5 in
(6.4 x 5.7 x 1.3 cm)

Envelope, 2020-2021
Inkjet print and UV printed matboard in powder-coated aluminum frame
20 x 14 x 1 in (50.8 x 35.5 x 2.5 cm)

With @i8gallery @frieze.london
Stand C3 taken in Frieze Art Fair by @bbbingaaa

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a year ago

One week + One day left to see 𝒜 𝐹𝑒𝓂𝒾𝓃𝒾𝓃𝑒 𝒯𝒽𝑜𝓊𝑔𝒽𝓉 @kunstvereinbraunschweig
[until it travels to @midwayart opening November 22. Come see this show transform in Minneapolis!]

From @cat8rin ‘s exhibition text:

𝒜 𝐹𝑒𝓂𝒾𝓃𝒾𝓃𝑒 𝒯𝒽𝑜𝓊𝑔𝒽𝓉 responds to the unique circular architecture in the ground floor of Villa Salve Hospes where Kunstverein Braunschweig is housed. The sole large-scale work presented shares its title with the exhibition, and re-frames the idea and concept of the “Gesamtkunstwerk”. The title refers to a work by Dieter Roth: 𝐸𝒾𝓃 𝓌𝑒𝒾𝒷𝓁𝒾𝒸𝒽𝑒𝓇 𝒢𝑒𝒹𝒶𝓃𝓀𝑒 𝐼 & 𝐼𝐼 (1971), an edition of two prints depicting a woman becoming a table and a table becoming a woman. In her exhibition, the artist explores the objectification and reification of a female body by conditioning the spatial experience of the Kunstverein, through sensory modifications and psycho-physical imagery.

Many thanks to @cat8rin , Monja Remmers, the staff at Kunstverein Braunschweig, @kazukiguzman , Sam Stevens and @johnhendersonjohnhenderson for supporting this artwork-as-exhibition fantasy. Thanks also especially to Laura @clueperfumery for collaborating with me on the olfactory components. Thank you to @ash.huse for teaching me new photo processes and @latitudechi *always* for access to scanners and printers. Thanks to @orionmartin for saving my biggest drawing for a decade, and mailing it back to me a few years ago (included here, folded up as it was when stored.)This artwork would not have been possible without support from @trellisartfund @artadia and @guggfellows

✮✩🎀✩✮
& Materials too long, posted in comments by @bbbingaaa

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a year ago

You are warmly invited to our summer party and the opening of the exhibition of B. INGRID OLSON „A Feminine Thought“ on Friday, June 20, 2025, at 7 pm.

„A Feminine Thought“ is the first institutional exhibition in Germany of the American artist B. INGRID OLSON (*1987 in Denver, lives and works in Chicago) and responds to the unique circular architecture in the ground floor of Villa Salve Hospes. „A Feminine Thought“ shares its title with the sole large-scale work presented in the exhibition, which was created through Olson’s engagement with the idea and concept of the “Gesamtkunstwerk”.
The exhibition title refers to a work by Dieter Roth: „Ein weiblicher Gedanke I & II“ (1971), an edition of two prints depicting a woman as a table.
In her exhibition, the artist explores the objectification and reification of the female body by not controlling the spatial situation in the Kunstverein but approaching it sensorially and from a psychological perspective.

Curator: Cathrin Mayer @cat8rin

Supported by:
Niedersächsisches Ministerium für Wissenschaft und Kultur @mwk.niedersachsen
Die Öffentliche Versicherung Braunschweig @oeffentliche_bs
Stadt Braunschweig - Fachbereich Kultur und Wissenschaft @braunschweig.de

We would like to thank:
i8 Gallery @i8gallery

The exhibition “A Feminine Thought” will be presented in an adapted version at Midway Contemporary Art in Minneapolis (USA), on view from November 22, 2025, through January 24, 2026. @midwayart

Credits: 1) B. Ingrid Olson, Excerpt from A Feminine Thought, 2007–2025 , © B. Ingrid Olson, Photo: B. Ingrid Olson / Studio 2) B. Ingrid Olson, Courtesy the artist and i8 Gallery, Reykjavík, Iceland.

#KunstvereinBraunschweig #BIngridOlson #Opening #AFeminineThought #Braunschweig @bbbingaaa @kunstvereine taken in Kunstverein Braunschweig by @bbbingaaa

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a year ago